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You've mentioned earlier that there is a fairly specific set of exercises at the barre, is this true of the center too?

Yes it is, not so much an order, but a progression.  I think I stated previously that the student's goal should be to " dance" the barre exercises, not just " do" them.  When you get into the center this is where that concept pays off.  But, back to your question....once again, just as at the barre, the movements in the center go from slow to fast, from small to large and from low to high.

The barre is supposed to prepare me for the center, but it feels so much different than the center.

It is different.  Suddenly the body has to rely upon itself for orientation to the space around it.  Even when the student uses the barre correctly and doesn't lean on it, or hold it too tightly, and remembers to let go often, even so the barre offers a solid point of reference.  In the center that point of reference is no longer available.  The mind likes to orient itself to solid objects it can see, feel and touch.  Part of the problem the student confronts is learning about the space surrounding her and her place within it as well as her spatial relationship to other students, the floor and the walls.  The larger the amount of " empty" space between our bodies and other solid objects the more disoriented we tend to feel.

So, it's almost like starting again.

To an extent, yes.  The body should be warmed up from the barre work and ready to add the difficulty of space orientation.  That's another reason why the center work starts off rather slowly.  There are some teachers who start the center off with something fairly dynamic to get the class moving.  However, I always like to start the center off with a tendu exercise that orients to the four corners of the room as well as the flat surfaces of the walls (which includes the mirror wall).  So, a tendu exercise that includes a turn of some kind and changes direction seems to me like a good idea.  Within this I like to incorporate a balance such as a preparation for pirouette in retiré passé.  Then when the exercise is repeated, that balance becomes a slow pirouette. In addition, I like to include a turn such as a soutenu which is a sustained turn on two feet as well as a pirouette which is a turn on one foot. There are an infinite number of combinations using these simple movements as a beginning of the center work.  I also like to explore all the positions of the feet in this first exercise: first, second, fourth and fifth so the body and mind can adapt to the different stances of weight placement.

If the barre was well designed by the teacher, the student should be ready to do this without problems.

Then what?

Next the teacher might present an adage or a slow, simple, almost sur la place, waltz enchainement to get the feeling of moving.  But mostly at this time I like to give an adage.  The adage should cover several components and concepts.

There are components to an adage?

Yes, indeed!  The adage is an enchainment done slowly that includes extensions of the legs - this should be done to the front, side and back.  The legs can alternate or not, occur in any order - the important thing is that each leg should extend to each of those positions: front, side and back. 

The adage should include port de bras (movement of the arms) coordinated with the legs.  This takes a long time to learn so it has to be started early.  It will be a simple design for the beginner but it should be there.

The adage should incorporate two kinds of balance: moving and stationary.  An example of very simple stationary balance is when one leg does a developpé whilst the other maintains the balance.  An example of a moving balance is a promenade.  A pirouette is another example of a moving balance.

The adage enchainement should also present the three possibilities of leg and body interactions:

1.  The extended leg and body moving together such as in a promenade in arabesque or attitude derriére/devant.

2. The body changing direction while the extended leg remains stationary such as in a pivot. 

3.  The extended leg moving while the body remains stationary as in a grand rond de jambe en l'air.

The adage combination should include changes of direction (corners and walls) and include at least one turn.  A stretch of some kind such as a cambré is also a good idea, too.   

The adage should not only be an exercise but it should also give the student an opportunity to experience beautiful inspiring music; it should be uplifting, not heavy and dull!  The adage should give the student ample opportunity for expressive dancing even if the enchainement itself is simple in design.  From the very first lesson, however rudimentary the adage exercise, opportunities for expressiveness should be incorporated.

Oh yes, I forgot to tell you that all exercises in the center should be done at least twice; once is just not enough.  The first time the mind and body are struggling with it, the second time is almost always better.  However, just as at the barre, if twice or thrice is good, that doesn't mean that 33 times is better.  Too many successive repetitions are harmful.

Now the student should be ready for a waltz....

I love the waltzy stuff!

Well planned center work should have a waltz....something to get the students moving across the floor.  Depending upon the technical proficiency of the students a slow waltz can then be sped up.  The important thing is to teach the dancers to cover space.  They should feel the pulse of the music, be moved by it and feel the wind going by their faces.  That's really addictive!

Now for petit allegro......

Well, I have to admit that's my least favorite.

It was mine, too, until I had a particular teacher who was a real bear about petit allegro.  I just dreaded it until one day I realized I loved it!  Eventually, the faster and more intricate it was the more I loved it.  It's like anything else, if you practice enough and become good at it, you will suddenly find you love it.  I like to feel the syncopation between the steps I am dancing and the music.

This particular bear of a teacher (who turned out to be a loveable teddy bear) always said that petit allegro is not taught enough - and I agree with that.  It is sadly under taught both in length and complexity.

But it's so fast!  Can't the teacher start it slowly and then work up to a faster tempo?

Most teachers do that but it's a good idea only to a certain extent.  It shouldn't be absolutely too fast for the technical level of the students, but it should be just a bit faster than what they are comfortable doing.  It should push them a bit.  Also, one finds as one gets stronger that petit allegro is actually easier when done faster.  However, if the teacher makes it a constant thing to always start slowly and then gradually work up to a faster tempo, the body and mind will resist learning anything at a faster tempo right off.  So, the teacher has to walk a fine line between what is possible for the students and what ends up teaching a lazy habit.  Learning everything slowly ALL THE TIME can become a lazy habit.

By the way, petit allegro can be given before the waltzy stuff - that's okay too.  But I like to precede petit allegro with an exercise with movement, such as a waltz, as well as a bit of a short warm up jump like changements before getting to petit allegro.

It's now time to turn.

Haven't we already had turns?

As part of the previous exercises, yes, but an enchainement that includes successive turns and a combination of different turns is necessary too.  Of course, this needs to be geared to the technical proficiency of the students, but they need to learn both concepts: doing successive turns and also knitting together different kinds of turns.  So a series such as chainés, piqués (both endedans and en dehors) is necessary.  Combinations of different pirouettes: en dedans, en dehors, preparing from various positions (first, second, fourth, fifth) and landing in different positions (first through fifth), changing directions, as well as ending in arabesque, attitude (both devant and derriére) or a la seconde.  Two footed turns, one footed turns, turns in the air, turns that move, and those that are sur la place, as well as those done very fast contrasted to those that are slow and sustained.  All this needs to be covered, not at once of course, but through successive classes.

Now for the piece de resistance....

Lunch??!

Well, not lunch - but dessert!  The grand allegro with all the fun stuff of big jumps, big waltz steps, and really feeling the wind in your hair.  I've never met a dancer who didn't love this part of class the best.

This is where it is so important to keep in mind all of the protocols of courtesy and safety in ballet class such as going down the diagonal within your group: not crowding the dancers around you.  Never stop in the middle.  If you get " stuck" - can't remember what to do or something else happens - keep moving and run off - just don't stop in the middle!

If you are coming forward from the back of the room to the front - go all the way to the front and then walk along the front wall until you get to the sides of the room and then go to the back.  Never stop in the middle.  Never walk back into the oncoming dancers.

Don't talk and disturb other students because they are probably trying to remember the combination.

Don't wear something that might fall off like a hair ribbon, earrings or other loose bouncy stuff.  It could fall off and the next dancer might step on it and slip or it might hit them in the face.

And finally, the teacher should give something to bring the class back together, cool down with a little stretch and then the reverence.

Yes, this is where everyone comes together in the center and says thank you to the teacher.

You should offer your teacher your reverence and don't forget the pianist.  Work on your reverence just as you do the rest of your dancing.  Learning how to bow and/or curtsy graciously and generously takes time and thought.  Most classes also applaud the teacher.  Give yourself a bit of applause too.  You earned it.